Terminology-Jazz Walks

Terminology – The jazz dance vocabulary includes many terms. The technical application of jazz

dance borrows appropriately from classical ballet. Much of jazz’s colorful terminology borrows

from historic roots, vernacular dances, social dances, tap, ethnic, American modern dance, and

musical theatre dance. The problem with jazz terminology has been standardization. Jazz terms

often vary from place to place and from teacher to teacher. Important prime movers in the

teaching of jazz dance, such as Jack Cole, Matt Mattox, Gus Giordano, Luigi, Phil Black,

Charles Kelly, Jack Standlye, Ronn Daniels, Beverly Fletcher, Jo Jo Smith, Dave Harris, Bob

Audy, Dolores Cayou, Bob Hamilton, Ruth Walton, Liz Williamson and others, have made

notable contributions to the standardization of terms. Teaching dance terminology gives the

student a point of reference. A name given to a movement helps the student quickly recall that

movement.

Jazz Walks- These are traveling locomotor movements. They can move in any direction or level

and combine stylized isolations with other torso movements. Both jazz walks and jazz “steps”

(specific movements) have evolved over many decades. Many of these movements have been

standardized, as well as redefined, and reinvented due to the ever-changing nature of jazz. The

beauty of jazz resides in the interpretation and execution of these walks, which can vary from

artist to artist.

Basic Walks

Flat jazz walk (oppositional) - A stylized version of one’s natural walk. The feet may be turned

out, or in parallel position, with the arms swinging in opposition.

or turned-in. See “Follies” and “Stash” for examples of this form.

Low Level Jazz Walk- A stylized walk executed at a low level, often in a contracted positon. It

may be executed turned-out, turned-in, or parallel.

Strut- Traceable to Vaudeville, it is a form of high level walk, or highly stylized smooth walk

with the carriage very erect.

Bounce Jazz Walk (Flick Kick Walk) - A walk in which the bounce is executed on the offbeat.

The legs may be turned out, parallel, or turned in; the body may be erect, rounded forward, or in

a flat back posture.

Plie- Releve or Releve- Plie Jazz Walk (JoJo) - Inspired by the jazz artist Jo Jo Smith. Any

stylized walk that utilizes both levels as it progresses across the floor (it is usually executed in

the parallel position with an isolation of the hip). Execution: As you step forward right, in a

parallel position, isolate the right hip to the right; as you step forward left, in demi-plie parallel

position, isolate the left hip to the left.

Lunge Jazz Walk- Any stylized walk that uses a dart action of the body. Often executed in a

parallel position, combined with an isolation of the shoulders and hips.

Isolated Jazz Walk- Any walk that uses an isolation as the impetus for the walk.

Funk Walk (Rock Walk) - A walk in a demi-plie parallel leg alignment isolating the hips to the

side on each walk. There is no oppositional line to the body and it may executed in any direction,

and also with an inverted style.

slaves walking in chain gangs. Stylistically seen in many Latin social dances such as the Mambo,

Cha Cha, Rumba and Merengue. It may be executed in any direction with the legs and feet in

parallel alignment. Often called a Cuban Push Off when executed as a sidewalk.

Popcorn (Pelvic Jazz Walk)- A stylized walk in a parallel alignment in which the pelvis contracts

forward on each step. The upper body remains erect and pelvis contracts forward of the shoulder

line; it may be executed in any direction.

Back Bump – A stylized walk in parallel alignment where the pelvis moves from neutral to back.

It is often used in Fosse choreography.

Fosse Hip Roll- A propulsive centrifugal (outward) circle of the pelvis. The chest is held in a

high release with the arms in a back hyper-extended position framing the pelvis. It may be

executed in any direction with the legs in a parallel alignment.

V hip Walk- A stylized walk in parallel where the hips move in the shape of a V on the side of

the body. The lead foot in in forced arch and the weight transfer happened when the hips return

to center. Hips move front diagonal, side, back diagonal and neutral.

Shoulder Jazz Walk- A stylized jazz walk in which the shoulders contract on each walk. When

the walk is executed in opposition, the shoulder is in opposition the feet. Execution: Right foot

forward, a left shoulder contraction. When using Cuban style walk, the shoulder is in opposition

to the hips.

Rib Jazz Walk- A stylized jazz walk where the impetus for the movement comes from the

isolation of the rib cage. Execution: When stepping with the right foot, the right side of the rib

cage releases as the left rib cage contracts; when stepping left, the opposite occurs. This walk
may be executed in any direction, but is most effective as a side-walk. Artists such as Ron Lewis,

Betsy Haug, and Ann Marie Garvin popularized this technique and style.

Jazz Square (Walk Around, Going Nowhere)- Traceable to Vaudeville. A walking pattern

consisting of four steps to create a square. Execution: Cross right over left, step left back, step

right side to right, step left forward.

Camel Walk- Traceable to Vaudeville, a vernacular movement used by early chorus lines, used in

the improvisational breakaway of the Lindy. Redefined in the 50’s vernacular dance, the “Stroll”.

Execution: Begin in a parallel 1st position. Developpe the right foot forward, extend through and

pointe. At the same time, lift the left heel rolling off the left foot to step forward on the right foot

as the right leg straightens

Sugar Foot- Traceable to early vernacular jazz. Used in combination with legomania type

movement, it appears in such early dances and the Charleston, Black Bottom, and Lindy.

Execution: Step forward on the ball of the right foot turned out. The right is raised. Pivot swivel

right foot and the same time step forward on the ball of the left foot turned out. It may be

executed in any direction, also, flatfooted, and with the use of the hips.

Trucking (Truckin’)- Traceable to early African traditional dance, and jumping “Jim Crow”; a

blend of jig and shuffle; a popular dance of the late ‘30’s. Execution: The shoulders are hunched

up, the hips sway in Congo fashion, and the feet execute a variety of shuffles while the index

finger on one hand wiggles shoulder high at the sky. Improvising variations are used in the Lindy

or Jitterbug.

Boogie Woogie – Traceable to early vernacular jazz dance. Associated with an early type of

piano playing that surfaced in the 1930’s, it became a popular part of the improvisational section
of the breakaway seen in the early Lindy. Execution: In a demi-plie, brush forward with the right

foot as it swings slightly across the left. Step right diagonally forward and push the hips forward

to the right, and reverse the movement.

Shorty George- Traceable to early vernacular jazz dance, it has Harlem roots and is named after

one of the all-time great Lindy Hoppers, Shorty George Snowden. A step used in the

improvisational breakaway section of the Lindy. The early execution was a running floor slide

combined with a knee lock. Execution: Step with the right foot directly forward, at the same time

bend the knees to the right, the hips move slightly right, and tuck the left knee behind the right

knee.

Cagney Walk (George M. Cohan) - Eccentric walk characterized by the actor James Cagney in

the musical “George M”. Execution: A march styled walk with the pelvis very released, chest

and torso very erect, and arms swinging in opposition, adding a bounce to the walk.

Chaplin Walk- A comic styled walk popularized by the antics of the pantomimist actor, Charlie

Chaplin. Execution: Walking flat-footed or off the heels in an extreme turned-out first position.

The torso waddles duck like on each walk.

Follies Walk- An elegantly styled high level walk, characterized from the extravaganza

productions of the Ziegfeld Follies. Execution: Lifting the right leg to a parallel inverted passe

position, stepping the right foot across the left, then reverse. Arms in a high V or second

position. Keep the shoulders squared as you imagine wearing a huge headpiece walking down a

long staircase.
Stash Jazz Walk (French Twist)- A descriptive word used for a fast form of Follies Walk. A high

level walk with elements of legomania, it is visible in such dances as the Charleston and

Jitterbug.

Suzie Q (Heel Grind) - An early vernacular jazz step traceable to Vaudeville, used in the

improvisational breakaway section of the Lindy. Execution: Travel sideways, twist your torso to

the left as you step with the right foot flat and turned in. Step to the left and at the same time

twist the torso to the right. Bend the left knee. The right knee is straight as the right heel remains

on the floor, with the right toe raised off the floor.

Trench (Trench Step, Through the Trenches) - An early vernacular jazz movement. A form of

long backward slide, considered a flash or trick step generated to draw applause. Execution: A

stationary running step, bending at the waist with the arms swinging in opposition, as the outer

sides of the feet scrape alternately from front to back.

Other Important Considerations for Teaching Jazz Dance

Jazz Styles

Various styles of jazz dance have evolved and become standard over the decades. These styles

reflect the expression of performers, choreographers, and teachers as jazz relates to the music

and social conditions of each time period. Some established jazz styles are: classical jazz,

musical comedy, lyrical, ethnic, traditional or lineage based, Afro-Cuban, Latin, Blues, Rock,

Funk, Modern, Hip Hop and other forms of street dance.

jazz performance “swing”, dancing over and between the downbeats of music. This style

incorporates grounded elements of various dance idioms, freedom of joint tension, and a

conscious connection to the space, as apparent in the Jump Rhythm Jazz Style of Billy

Siegenfeld. This style is best performed to the music of jazz musicians like Duke Ellington, Fats

Waller, and Neil Hefti among others.

Musical Comedy- A style of dance influenced by the talents of early jazz performers in

vernacular comedy, song and dance. Today musical comedy refers to a popular form of

entertainment; also referred to as a commercial dance.

Theatre Dance, Broadway, Theatrical Dance, Musical Theatre Dance- A highly stylized form of

dance that uses music, movement, comedy and narrative to support its form.

Lyrical- A fluid style of jazz blending movements from European classical ballet, American

modern dance, jazz, and ethnic forms. The choreographic expression of the performer, with

respect to content and projection, interprets the lyrics and/or quality of the music. The integrated

form allows for freedom of self-expression.

African Traditional (African Lineage Based) – A style of dance closely related to the

characteristics of early African dance. These characteristics include; flatfoodedness, crouched

position from the waist, imitation of animals, improvisation and freedom of expression,

centrifugal (exploding outward from the hips), and propulsive swing quality.

Afro-Cuban- A style of dance that blends traditional African body movements with the elegance

and formality of European court and peasant dances. Historically this blend and mixture evolved

in the Caribbean.
Latin- A style of dance influenced by Latin American Music. The Latin style is a blend and

mixture of African, European, North American, and South American influences. Latin social

dances such as the Tango, Cha Cha, Merengue, Rumba, Samba, Paso Doble and Mambo

continue to influence the movement style.

Boogie Woogie (40’s Swing, Jitterbug)- A style of dance that incorporates many Lindy

breakaway variations from the Big Band Era of the 30’s and 40’s. Some of these Lindy

breakaway variations include: Camel Walk, Trucking, Suzie Q, Shorty George, and Boogie

Woogie.

Blues- A sensual style of dance influenced by early blues music. Strong emphasis is placed on

the sensual use of the pelvis, torso, and body isolations. Earl Tucker, best known for his “Snake

Hips” motions, popularized this style in Harlem in the 20’s.

Rock- A style of dance influenced by rock ‘n’ roll music that blends hillbilly, gospel, blues, and

popular music. Popularized in the 60’s by such groups as the Beatles and Rolling Stones; rock’s

percussive free and often wild qualities reflect the social condition during the 60’s decade.

Funk (Urban Funk)- A style of dance influenced by rhythm and blues music. A strong emphasis

is placed on the downbeat and grounded movement close to the floor. This style combines many

body isolation in an angular and disjointed manner. Pedestrian movements such as walking,

clapping, and finger snapping are incorporated into the movements. Commonly seen in club

dancing, projected “attitude” poses are common.

Hip Hop- A style of dance that incorporates street dance. It defines and reinvents many early

vernacular jazz dances and movements. Back-up by popular music, many characteristics of

African dance are evident. It also blends elements of rock, funk, R&B, rap and techno.
Rave- A free style of dance that surfaced in Great Britain in the early 90’s. Part of the

underground club dance culture, it utilizes improvised movements of energy circles around the

aura of the body. Dancing often in a trance like manner, backed-up by techno styled music, it

combines a 60’s sensibility in a 90’s reality.

Modern (Contemporary)- A style of dance, that incorporates elements of modern dance, ballet,

jazz, and other ethnic forms with a wide variety of music. The movement expressed often

reflects the point of view of the dancer/choreographer.

Note: The thoughts and expressions of many choreographers and teachers have established their

styles and signatures on jazz dance. These artists have successfully blended various dance forms

to create a specific school of thought, technique, and the signature style of jazz that we credit to

them today. Jack Cole Style- Jack Cole is considered by many to be the father of American jazz

and theatre dance. His unique and personal approach to movement linked, mixed, and blended

different forms of ethnic dance from traditional African, to Caribbean, Irish, East Indian, and

Oriental, to create jazz ethnic ballet technique and style. This Cole expression prevails as a

dominant look in today’s musicals, films, night club revues, theme park shows, television,

commercials, and videos.

Other Artists Who Have Developed a Personalized Style, Technique, School of Thought,

and/or Jazz Expression: Matt Mattox, Luigi, Gus Giordano, Phil Black, Bob Fosse, Jerome

Robbins, Donald MacKayle, Peter Gennaro, Alvin Ailey, Michael Kidd, Gower Champion,

Frank Hatchett, Beverly Fletcher, Belly Siegenfeld, Joe Tremains, Jo Jo Smith, Ron Lewis,
Betsy Haug, Charles Kelley, Ann Marie Garvin, Lester Wilson, Paula Abdul, Mia Michaels,

Randy Duncan and others.

References:

Read chapter 1, pages 1-25, “Jump Into Jazz”, Jazz Dance History.

Read chapter 8, pages 77-88,” Jazz Dance Today”, What Is Jazz Dance.

For a concise history, see: Stearns, Marshall and Jean.” Jazz Dance, The Story of American

Vernacular Dance.” New York: Da Capo Press, 1994. New York: Schirmer Books, 1968.

Six Characteristics of African Dance That Help Identify African Influence In American

Jazz (“Jazz Dance,” Stearns)

1. African dance is danced on the naked earth with bare feet. African style is often flat-

footed and favors gliding, dragging or shuffling steps.

2. African dance is frequently performed from a crouch, knees flexed, and body bent at the

waist (comparing African dancing to a hunter, crouched for the kill). The custom of

holding the body stiffly erect seems to be principally European.

3. African dance generally imitates animals in realistic detail (although by no means unique

only to Africa). Animal dances portraying the buzzard, eagle, crow, rabbit, and so on,

form a large part of the repertory.

4. African dance places great importance on improvisation, satirical and otherwise, allowing

freedom for individual expression; this characteristic makes for flexibility and aids the

evolution and diffusion of other African influence.

5. African dance is centrifugal, exploding outward from the hips. “The legs move from the

hip instead of from the knee. The arm from the shoulder,” writes musicologist Rose
 Brandel. The same point is made by Nadia Chilkovsky, who declares that African dance

and much of American dancing to jazz rhythms “begins with the hips and moves

outward, employing the entire body.” Starting with the hips tends to make the dancing

looser. This is in opposition to the erect, silted European usage of the body.

6. Most significantly, African dance is performed to a propulsive rhythm, which gives it a

swinging quality also found, usually to a lesser degree, in the music of jazz and in the

best dancing performed to that music.

Adapted from Author: Tom Ralabate

Thomas P. Ralabate is Professor, Chair, and Producing Director of the Department of Theatre & Dance at University
at Buffalo/SUNY. He has served in the past as Assistant Chair Dance, Director of Dance, and Artistic Director of UB’s
Zodiaque Dance Company. Professor Ralabate has taught for all major dance organizations throughout the United
States and Canada. A former United States and North American Latin Ballroom Dance Champion, he was the
American representative with his sister Kip, to the World Latin Dance Championships.
Professor Ralabate’s choreography has been featured at the National Dance Theatre of Bermuda; Joffrey Midwest
Ballet; other university programs; the state televised Miss New York and Miss Pennsylvania Scholarship Pageants
for the Miss America Scholarship Competition; and Zodiaque Dance Company. He is currently the National Chair of
Education Strategy for Dance Masters of America Inc. (DMA), and he has revised both DMA’s Jazz Exam and Jazz
Syllabus. In addition, Professor Ralabate has created jazz dance syllabi for Chicago National Association of Dance
Masters (CNADM), Dance Teachers’ Club of Boston, and INTERDANZA, Mexico. Honored for his contributions to
dance by raising national dance standards, Professor Ralabate is a recipient of the Artistic Achievement Award and
the Adele Artinean Award presented by CNADM; the Jazz Dance World Congress Angel Award; the Buffalo
Ambassador Award; the first recipient of the College of Arts & Sciences Award for Excellence in Teaching in the
Area of Arts at University at Buffalo; and the prestigious Ivy Hall Foundation Award, first awarded to Gene Kelly
and presented by Dance Masters of America. DMA has established an educational scholarship in the name of
Thomas Ralabate. In 2003, he was the recipient of the DMA Distinguished Educators Award and, in 2005, was the
recipient of an Individual Artist Award by the Arts Council of Western NY and the greater Buffalo and Niagara
Partnership.
A contributing writer for the Higher Ed Column in Dance Studio Life Magazine, dedicated to quality dance
education, Professor Ralabate received a 2006 SUNY Chancellor’s Award for Scholarship and Creative Activities. In
2007, he was honored in New York City by Dance Teacher Magazine at their annual summer conference for
distinguishing himself as an outstanding educator in higher education and advocate for dance. Professor Ralabate
was awarded DMA’s Member of the Year, in 2009, by the DMA National Executive Committee and Council of DMA
Past Presidents at the 125th Anniversary Celebration National Convention held in Washington, D.C Professor
Ralabate is honored to appear in the Pedro Brenner 2009 film documentary Gus an American Icon, based on the
life of jazz dance legendary Gus Giordano.